education

A little re-educating never hurts

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I’d already been working on the new spec for a bit when a friend offered up the chance to be a beta tester for his new screenwriting course.

It offers a lesson a day to help you get your first draft done. He admits the course is geared more towards newer writers still learning the ropes, but thought I might enjoy it – as well as provide feedback about my experience with it as needed.

I figured “Why not?” and signed up.

Just a few days in and I like how it’s going.

I’m following the lesson plan, which so far has involved the very basics – What’s your idea? Which genre is it? Tell us about your protagonist. Do you have a few ideas for the title? What’s the logline?

It would be really easy to blow all this off and just jump ahead, but I said I’d adhere to the guidelines, so that’s what I’m doing.

In some ways it’s helping take some of the pressure off and avoiding the trap of the whole “just write it!” mindset. Taking it nice and slow, and being slightly more reflective than usual is reaping some benefits. Getting the more manageable tasks out of the way has also resulted in a few more bursts of creativity – which is especially helpful as I continue to work on coming up with story ideas.

It’s almost zen-like in the approach.

I also like the accountability factor. It’s great for me to work on this, but I want to help my friend make the course as effective as I can, which is why I’m being diligent about completing each day’s lesson. I’d call that a win-win.

This is a 60-day course, and I’m still in the single digits and about to get into the outlining phase. Like I said, I’d already been working on this, so I have a lot of the first act in place – it’s the second act that’s proving to be the challenge.

But I’m not stressing about it. One lesson/task a day equals slow but continuously steady progress.

If things work out the way the course intends, then I should have a pretty solid first draft in just under two months, which is fine by me.

Then the rewrites begin, which will probably a totally different course.

There’s a lot more to this than writing

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As screenwriters, we’re always trying to hone and develop our writing skills. But how prepared are you for what comes after your script’s written and ready to go?

How familiar are you with the business aspect of “show business”? Maybe you’re thinking “I’ll get an entertainment attorney and let them handle it.” But how do you find the attorney that’s right for you?

Or “All I need to do is write and have my rep deal with all that other stuff.” What if you don’t have a rep and somebody comes along with an offer?

A screenwriter (or TV writer) needs to know these things.

I had the good fortune earlier this year to interview Kaia Alexander as part of the San Francisco Writers Conference. We covered multiple topics about being a screenwriter, including finding your “wolfpack”, to making and maintaining professional connections, how to determine your brand as a writer, and the do’s and don’ts of pitching.

If you’re serious about a career in screenwriting or TV, and these sound like the sort of things you’d like to learn more about, you should look into enrolling Kaia’s upcoming summer session of the Entertainment Business School.

The program begins on August 5th and runs for 9 weeks. Among the other topics covered:

-How studios and streamers make buying decisions
-How attachments work and how to get them
-How to pitch to buyers and reps
-How to network and build your community
-How to get producers for your projects
-The way the industry is changing
-How to negotiate like a pro and not leave money on the table
-Film financing and where to find investors, and how to vet them
-The roles of managers, agents, entertainment attorneys, publicists, producers, and development execs
-Entertainment business etiquette do’s and don’ts
-How to think about budgets

Enrollment opens next week – June 28, through July 28. There are two tiers: Balcony and Orchestra. Both include all access to what EBS has to offer, but Orchestra includes some personalized coaching from Kaia and is limited to 24 students.

One caveat: students who move forward from the application will go to a 1-1 Interview with Kaia. Not all students who apply will be accepted.

Kaia is also offering a special discount for readers of this blog: use the code PZ50S24 to get $50 off the enrollment fee. This code is only valid until July 28, which will be here before you know it, so don’t wait to sign up.

I know several writers who’ve taken the EBS courses and have been quite thrilled with the results. This is a great opportunity for any writer, and I hope you take advantage of it.

And feel free to tell Kaia I sent you.

Past You would be really impressed

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Ask any screenwriter how their most recent draft compares to, say, their very first one, by which I mean THEIR ABSOLUTE VERY FIRST ONE, it’s probably a sure thing they’ll say something along the lines of “It was awful!” or “An absolute mess!”, or maybe even “I don’t even want to think about it it was so bad.”

Taking a look at some of my first attempts, I can say the exact same thing. Scenes that drag on. Flat action lines, or ones that were way overwritten. Big chunks of text on the page. On-the-nose dialogue that’s pure exposition. Spoonfeeding story details to the reader to make sure they understand what’s going on.

Nothing to be ashamed of. There are vomit drafts, and “looks like my printer vomited words all over the pages” drafts. You gotta start somewhere, and the important part is YOU GOT IT WRITTEN.

Nowhere to go but up, right?

So you start working on getting better. You get feedback. You start to understand why things aren’t working and what you can do to fix them. You learn, and all this new knowledge helps shape the next draft to better than the one that came before it.

You put in the time and the effort and it becomes more noticeable how your writing is getting better. All of those newbie mistakes are a thing of the past. Your script seems more polished. There’s still room to improve, but it doesn’t seem as daunting now, does it?

Multiple drafts and seemingly neverending rewrites are par for the course. It happens to even the most experienced screenwriters. The hardest part is getting that first draft written. Accomplish that and you’re already ahead of the game.

There will most likely be a ridiculous amount of rewriting in your future, and the end result may be totally different from what you started with, but think about how far you’ve come. You probably had no idea when you were just starting out that you’d be so willing to put yourself through all of this, over and over again.

And that might even be for just one script.

Sure, you might be a little embarrassed when you look at your earliest scripts, but look at your most recent draft or the pages you wrote last weekend. As if they’d been written by two entirely different writers. Because that’s exactly what they are.

Past You was just starting out and made a lot of mistakes. Present You knows what’s needed and does it.

And just imagine the skills that Future You is going to have.

The “Business” part of “Show…”

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A lot of screenwriters just starting out often think “All I need to do is write an amazing script, and the rest will fall into place.”

Not really. Having an amazing script helps, but that’s just the beginning.

Learning how to write a script, let alone an amazing one, is one thing. What to do when the script is done is a whole other topic.

Do you know how to pitch? What about dealing with contracts? How are your negotiating skills? These and many other business-oriented topics are vital. And if you’re thinking “Why should I care? My reps can handle all of that,” think again.

A rep can only do so much. A lot of the time you’ll most likely be doing a lot of the work yourself, so it’s smart and practical to know what’s expected.

If you want to further develop your business savvy, here’s a special offer you should seriously consider.

Seasoned writer/development executive Kaia Alexander runs the Entertainment Business League, which features a specially designed virtual course to help you prepare for working in the industry.

The Entertainment Business School Winter session is a 9-week course starting on January 29 running until March 29.

Among the many topics covered:

-If and when you need to create your own production company

-How studios and streamers make buying decisions

-How attachments work and how to get them

-How to pitch to buyers and reps

-How to network and build your community 

-How to get producers for your projects

-The way the pandemic has changed the industry

-How to negotiate like a pro and not leave money on the table

-Film financing and where to find investors, and how to vet them

-The roles of managers, agents, entertainment attorneys, publicists, producers, and development execs

-Entertainment business etiquette do’s and don’ts

-How to think about budgets

Also included are live coaching sessions, mixers, and industry guests.

You also get access to an impressive online portal with a library of business and finance documents including screenplays, pitch decks, show bibles, streamer/network pitch preferences, financial literacy downloads, legal documents, just to name a few.

Don’t live in Los Angeles? No problem. The class is done virtually, and each session is recorded and available afterward, along with email access to Kaia during the work week.

The early bird window for signing up is Jan 8-13, which includes a $50 discount using the code WOLFPACK50.

Space is limited, so don’t wait too long before signing up.

There’s gold in them thar dumpster fires!

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Saw a great quote the other day that was along the lines of “Being a writer is like having homework for the rest of your life.”

From a certain perspective, that definitely has a negative connotation. Emphasizing the ‘work’ part of the word indicates drudgery and toil. Like, strictly dullsville, man.

The obvious solution is to make it a positive experience.

I know. Easier said than done, but bear with me.

(Writing should never seem like work anyway, but that’s another post.)

To be a better screenwriter, you need to read scripts and watch movies. You can see how the pros did it and figure out how that could potentially influence your work.

While watching your favorites and the classics can definitely help, I also suggest watching really shitty movies as well.

Hard as this might be to accept, there’s something be gained from it.

What was it that made them bad?

The possibilities are numerous, but a good percentage of the time – it’s the script.

As a writer, you can use that to your advantage.

Painful an experience as it might be, watch that bad movie from a writer’s perspective. Is it the writing that sucks? The story? The characters (and not the actors)? Is there a coherent sense of structure? Is there any structure at all? Does the story flow naturally, or do things happen because it seems like the story needs them to?

Maybe it feels like the writer didn’t take any chances, or worse, went for the very easy and cliched (i.e. expected) solution. Does anything in your script feel that way? If so, think about what changes you could make that would produce the same results, but get you there in a totally different way.

It may be 90-110 minutes of your life you’ll never get back, but at the very least you’ll get a better idea of what NOT to do when it comes to developing your script.

And that is a worthwhile lesson for any screenwriter.